Put your two cents in...

[Peter Langham]

Black and white printing including toning options.  Maybe include RGB vs ABW and other workflow.  Sound like a whole other tutorial!


Peter

[jschone]

Jeff,

Your list is very complete. Since I run a fine art print gallery myself (Rome, italy), i might have some suggestions:

-Cartridge disposal
-How to handle paper waste (printing from roll paper, what to to do with "rest paper", how to store?)
-Clean work environment (scanning, handling of prints --> using anti-static brushes). Cutting of prints.
-How to make a proper cut (for example with the rotatrim instruments (I still have it upside down, which seems to work better....)
-Efficiency: proofing images. When and where in the workflow and how big (for example I make a4 print of the whole image and an a4 crop (for sharpening and detail testing) when I print bigger then 40x60 cm
-File naming and notes about files. Labeling --> 1. originals 2. work 3. print
-Printing >1 customer in one job. Putting more customers in one job
-Handling of clogging and lines in prints (efficiency and action wise)
-Touching and cleaning cotton paper (taking away cotton seeds)
-Packaging and Shipping of prints

Just some daily issues I run into myself. the higher the pressure, the more difficult it is to be efficient and clean...)

Jochem

[digitaldog]

(1) The appropriate order (if there is one) of making adjustments in ACR4 or in the Develop Module of Lightroom[a href=\"index.php?act=findpost&pid=118757\"][{POST_SNAPBACK}][/a]

Quick and dirty: top down, left to right.

[Christopher]

Sounds like a very comprehensive session, my compliments!

The only thing not specifically mentioned, but one I find most of my printing students don't know or use, is the proper application of a printing curve to limit tones to what the printer can achieve at both ends.  For example, on my Epson K3's with coated Pk papers, this usually requires a limit somewhere around 250 (98%) up top and 5 (2%) or so at the bottom -- but obviously this varies with profile being used so needs to be specific to it.

Best,
[a href=\"index.php?act=findpost&pid=118862\"][{POST_SNAPBACK}][/a]

Yep really good point. Some specific paper+profile combinations examples would be great.

[Mark D Segal]

Yes, true, and fine as a first cut approach - but as you say - it is "quick and dirty". I'm finding there are conditions (which I can't generalise about yet - so far it is image-by-image judgment calls) where breaking out of the quick and dirty mode may work better; when that occurs, one gets into how to work forth and back so it doesn't all become counterproductive with self-cancelling or artifically constrained operations. The permutations and combinations are infinite!

[tbonanno]

WOW!  Looks like a week long list.  Very comprehensive.  Only thing I can think of that might be worth mentioning somewhere is the "bronzing/gloss differential" issue that arises with resin papers on most printers.  How best to deal with it?  Which printers minimize it?  Why is it even an issue?  I suspect it is covered in one of the listed topics, but just wanted to mention it.

Look forward to this one (video I presume)...

Tony Bonanno